Because there are so many events coming up, we are sending out a special edition (of the GEMS Newsletter) covering the next two weekends. Also please note a correction to the Big Apple Baroque concert: the date is FRIDAY, April 1 (not Sunday, as originally listed).

In 1762, John Christian Bach, youngest son of the old master, Johann Sebastian, journeyed to London for a lucrative position with the King’s Theatre. Shortly thereafter, he was appointed Music Master to Queen Charlotte Sophia (wife of “Mad” King George III) and the Royal Family. With a few close musical friends, the "London Bach" formed an ensemble to entertain Her Majesty in her private chambers: The Queen’s Chamber Band.

Don't miss this tale of power, love, honor, and death presented by a cast of star singers and musicians in this extraordinary concert! March 25, Boston, MA & March 26, Arlington, MA. This is the first “opera seria” written by a woman composer.

On March 13, 2011 Nota Bene Period Orchestra presents “Bach’s Leipzig”, a concert of music by J.S Bach along with the music of his contemporaries and predecessors from the historic city of Leipzig, Germany. The concert, which features local favourite, mezzo-soprano Jennifer Enns Modolo, will include a slide show with historical connections to our own city of Kitchener.

Enjoy the rare opportunity to hear some exquisite music written by seldom-heard women composers of the Baroque. The programme will include works by Elisabeth Jacquet de la Guerre, Barbara Strozzi, Isabella Leonarda and the enigmatic Mrs. Philarmonica. As an added bonus, the ensemble will be premiering a specially-commissioned work by Canadian composer Elizabeth Raum, a setting of a dialogue by Mary Sidney (1561-1621) in honour of Queen Elizabeth I. Countertenor Timothy Wong will join Musathena for this new work.

An evening of sublime music will be performed in the magnificent spaces of Guelph’s Church of Our Lady Immaculate. Guest organist Christiaan Teeuwsen joins TACTUS to perform works chosen mainly from the Italian Renaissance.

There is a strong connection between the composers featured in our concert and the acoustically brilliant Sistine Chapel. Giovanni Pierluigi da Palestrina, champion of Rome's Counter Reformation, needs little introduction to lovers of early music. His student, the Spaniard, Tomas Luis de Victoria will be also represented.

Henry Purcell and George Frideric Handel took great joy in composing music for their royal patrons, Queens Mary II of England, Anne of Great Britain, and Caroline of Ansbach. Join ABS, the American Bach Choir, and a quintet of splendid vocal soloists for a rare treat of sumptuous music!

It turns out the 17th century was a great time for women composers. Magnificat Baroque and its guest soloist, soprano Jennifer Ellis Kampani, are hoping that their upcoming program, Donne Virtuose, will lead listeners to discover the wonderful work created by four of such extraordinary women.

American Bach Soloists Music Director, Jeffrey Thomas, speaks about their annual performances of Handel's Messiah, one of the greatest oratorios of all time, in San Francisco's Grace Cathedral. Baritone Jesse Blumberg and the American Bach Choir are featured in performance clips.

With Italian influence and in defense of the French style, these three composers entertained contrasting rapports with the Court at Versailles. The delicacy and richness of music by Charpentier regularly attracted Louis XIV in Paris, while Marin Marais, Lully's successor, enjoyed the grace of the King in the splendor of the Court. Couperin, meanwhile, sailed incessantly from Paris to Versailles and was able to skillfully combine French and Italian styles by the subtle and learned style of his writing.

In a season bursting with Messiahs, the Clarion Music Society celebrates the holidays with a repeat performance of its popular Bach for Christmas concert, which sold out in December 2008.

On Wednesday, December 15th, young Early Music maestro Steven Fox once again conducts the Clarion Choir together with the period-instrument Clarion Orchestra and an outstanding group of soloists in Bach’s celebratory Cantata No. 133 ‘Ich freue mich in dir’, and the 2nd and 5th Cantatas from the Christmas Oratorio, ‘Und es waren Hirten’ and ‘Ehre sei dir, Gott, gesungen.’ The concert, which takes place at Park Avenue Christian Church (1010 Park at 85th Street), features soloists Sherezade Panthaki, soprano; Melissa Attebury and Virginia Warnken, altos; Oliver Mercer, tenor (Evangelist); Daniel Mutlu, tenor; John Boehr, baritone, and Douglas Williams, bass.

Concerto grosso ... Vivaldi’s Four Seasons ... “Pre-classic” music — these terms are probably enough to send a seasoned classical music fan running for the hills. They tend to conjure up advertising soundtracks, bargain basement recordings, and, above all, generic interpretations. But put this repertoire in the hands of expert interpreters and a seasoned period-instrument orchestra, and it soon becomes apparent why 18th-century audiences were hungry for orchestral repertoire by the bucket load.

For its 2010-2011 season, Les Délices’ founder and artistic director Debra Nagy has once again dug deep into her imagination and created three unique programs that are a sure bet to enthrall Northeast Ohio lovers of early music. Since the group’s founding in 2006, Les Délices has quickly established a reputation for polished, expressive, and dynamic performances of masterpieces and little-known works from the French Baroque. And each season the ensemble brings together artists who share a passion for this beguiling yet seldom heard repertoire. Their performances on period instruments allow them to explore a rich tapestry of tone colors, and the group's name conveys their approach to the music of this era: a delight, a fine delicacy, sumptuous, and exciting.

Haydn’s L’isola disabitata is ideally suited to the modern taste for chamber opera. This is Haydn for those who think they don’t like his operas or even baroque form.

Written in 1799, just before the three best known operas, L’isola disabitata is enjoying a major revival all of its own, thanks to the 2007 edition used at the Young Artists production in the Linbury Studio at the Royal Opera House, London. It’s short, snappy and there are no high male voices.